The Implication of Network Catchwords in Subtitle Translation网络流行语在字幕翻译中的应用.doc

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1、The Implication of Network Catchwords in Subtitle TranslationLiterature ReviewKey words: network catchwords, subtitle translation, humorous effects, new strategyForewordWith the rapid development of the mass media, network catchwords spread quickly among the general public and widely accepted by peo

2、ple. This trend directly influences many aspects of social information dissemination. As important means of information dissemination, television and film naturally welcome these network catchwords. As various kinds of new catchwords promptly describe social phenomenon and reveal social problems in

3、a more real way, they are of studying value in terms of social culture and academic research. Therefore these new and unique languages are quickly implied in subtitle translation in English televisions and films. More and more people professional or non-professional begin pay great attention to the

4、combination of network catchwords and subtitling. Network catchword not only frequently appear in amateur subtitles, also gradually plays an important role in professional subtitles.Main Body1. Network catchwordsThe definition of network catchword should take spatial analysis of network field and ti

5、me analysis of trends into consideration. It is a dynamic phenomenon and also a historical category. According to the internal mechanism and social and cultural meanings of network catchwords, they can be classified into chatting languages created by internet users, words reflect internet culture an

6、d subculture trend of teenagers, words closely concerned with hot social or public events. (Yang Wenquan, 2002) Network catchwords come from general public life and are increasingly used by the general public and the mass media; they have become a microcosm of the social and cultural life.1.1 The so

7、urce, characteristics and classification of network catchwords There are six main reasons that contribute to the formation of network catchwords. First, they are generated from burgeoning things, such as guanshui and baifumei. Second, they come from the evolution of homonym, misreading and glyph, su

8、ch as shenmedoushifuyun and diaosi. Third, they are facilitated by popular events, such as dajianguou and CNN. Fourth, they come from television programs, such as geili and chuanyue. Fifth, they come from terminology of certain industry, such as shanzhai and danding. Sixth, they are created through

9、endowing old words with new meanings, such as fenghuangnan and chongdian. (Wang Xiaojuan, Wang Xin, 2009) Network catchwords derive from realistic life and are created, evolved and developed for the special needs of internet communication. In general, they have four basic characteristics. First, com

10、bination of linguistic succession and creation. The progress and development of any language can not be separated from the inheritance and transmission of linguistic tradition. Creation is an obvious feature of network catchword; it mainly reflected in vocabulary and grammar. Second, economy of lang

11、uage structure. Thrifty in the choice of words and short sentence in the choice of sentence are common in network catchwords. Third, humorous language style. The expressive forms of network catchword are fresh, dynamic, novelty, exaggerated and funny which appeal to the relaxing and humorous emotion

12、al need of internet users. Fourth, informal and vulgar use in language. In order to communicate in a more convenient way, people use large number of abbreviations, acronyms, images, figures, symbols or even typos which sometimes seem very informal. To pursue personality and innovation, many teenager

13、s tend to use vulgar network catchwords. (Mei Longbao, Fan Huanzhen, Sang Longyang, 2005) As for the classification of network catchwords, it involves the understanding and construction of network catchwords, so different scholars classify catchwords according to their different theories. However, n

14、etwork catchword as a cultural phenomenon, it can be classified into three types according to its internal mechanism, incarnated social cultural meaning, reflected social structure and historic changes. First, exclusive chatting language created by internet users. Second, phrases that reflect the tr

15、end of internet culture and youth subculture. Third, words closely concerned with hot social or public events. (Jianghong, 2005)1.2 The application and research significance of network catchwords With the development of internet, network catchword has been implied in many areas such as news, televis

16、ion and film, entertainment, teaching and business. Since network catchword has been widely used in more and more areas, its research significance draws more and more peoples attention. The research significance of network catchwords mainly reflects in three aspects. First, the researches of catchwo

17、rd help to expand the research ranges of network catchword, clarify the basic knowledge about network catchwords and raise the awareness of the research significance of catchwords. Second, the researches contribute to researches on psychology of mass society. Third, the researches are extension of r

18、esearches on young peoples ideological dynamic. (Sun Yonglan, 2010)1.3 Translation approaches of network catchwords First, literal translation. Some catchwords can be translated directly on the basis of the literal meanings of them. Although this approach is not very efficient in terms of informatio

19、n communication, it can better spread Chinese cultures and deliver cultural life and state conditions of China. As time moves on, internet catchword will become a effective way to understand China for foreigners. Second, free translation. Some internet words may seem ambiguous and inexpressive if li

20、terally translated. Thats when we need free translation. Third, transliteration. Some catchwords can be translated simply in the light of the similar pronunciation in English. Transliteration can not only be faithful to the original text, but also express the exact meaning of network catchwords. (Zh

21、u Sixiang, 2002)2. Present situation of subtitle translation Subtitle translation is an emerging industry in translation field. Chinas translation industry has a weak foundation and started later than western countries. Chinas large-scale subtitle translation began in the 1980s just after the reform

22、 and opening up. But because there is not a regulated subtitle translation market or unified strong supervision and management, subtitle translation works present a varying and poor qualities. (Li Kangkang, 2010)2.1 Subtitling strategies On the one hand we should try to keep the original cultural fe

23、atures of the television and film works (Subjection to Source Norms), on the other hand we should also stick to our own language traditions and use our characteristic expressions in the process of translation (Subjection to Target Culture Norms). Only in this we can we reach the goals of translation

24、. (Guo Jianzhong, 2002) When we do subtitling, we should aware that subtitle is not a single existing object and we should take both creative process and recipient process into consideration. Both literal and free translation should take audiences as center. Literal translation absorbs the new benef

25、icial elements from other cultures, which can better reflect things and moods from other countries. While free translation is more likely to be accepted by audiences. Just like other types of translation, cultural information is the most difficult part to handle in subtitle translation. However, we

26、can handle it by using following three tactics. First, cultural compensation. This tactic aims to keep and introduce foreign cultural features and strengthen audiences understanding of different languages and cultures. Second, cultural transplantation. This tactic aims to make subtitle reads more pu

27、re and vivid. Translator may need to drop the cultural features of the original language and use his own language traditions to give the audience a better understanding of the works. Third, cultural mediation. When the previous tactics do not work, we can choose this one. But this may unavoidably ca

28、use the loss of cultural information in both original and target language. When translator handles cultural information in subtitling, he or she should combine the three tactics and screen images to give a full explanation of the cultural information. (Guo Jianzhong, 2002)2.2 Limiting factors of sub

29、titling Time limits. This limit includes two aspects. First, the sounds and images of screen last for just a limited time. For instance, the sounds of dialogues or even no sounds just the images. Second, the time that the audiences use to scan the screen is limited. Thus the translator needs to choo

30、se common words and short flexible sentences in subtitling so as to deliver information in a limited time and space. (Fang Mengzhi, 2004) Space limits. This space means the size of the screen and the number and lines of the subtitles. As we known, the size of the screen and the actors mouth dialogue

31、 limit the length and size of the subtitles. English subtitle appears no more than two lines at one time, while Chinese subtitle appear no more than one line at one time and no more than thirteen words in one line. Therefore, for translators, subtitle translation should be clear and concise. (Fang M

32、engzhi, 2004) Colloquialism. Screen language is different from literary language, it is colloquial, instant, demotic and non-noting. (Liu Huili, 2010) Television and film works are mostly composed of character dialogues whose contents are the core of the works. Excellent Television and film works co

33、mply with its colloquial features. So subtitle translation should not contain too many qualifiers and the content should close to daily life and meet the language habits of Chinese people. Context. Context refers to a variety of subjective and objective factors which affect verbal communication. Sub

34、jective factors include language users purpose, identity, thoughts, personalities, profession, experience, self-cultivation, gender, situation, mood etc. Objective factors ranges from social environment, natural environment to time, place, occasion, object and context of intercommunication. So subti

35、tle translators should fully aware the context of the speakers and present it to audiences.（Munday J, 2010）3. The implication of network catchwords in subtitling As various kinds of new catchwords promptly describe social phenomenon and reveal social problems in a more real way, they are of studying

36、 value in terms of social culture and academic research. Therefore these new and unique languages are quickly implied in subtitle translation in English televisions and films. More and more people professional or non-professional begin pay great attention to the combination of network catchwords and

37、 subtitling. Network catchword not only frequently appear in amateur subtitles, also gradually plays an important role in professional subtitles.3.1 Localization of cultural images and functional equivalence Bassnett proposed the term Culture Turn in her work Construction Cultures. Traditional trans

38、lation theories simply discuss meaning conversion in language symbols from linguistic perspective, but Bassnett emphasizes the important role culture plays in translation in his cultural translation theory. She argues that the basic unit of translation is not words, sentences or even chapters, but c

39、ulture. Translation is not simply a language behavior and it is deeply rooted in culture. As for the nature of translation, it is a communication between different cultures and inside different cultures. So the mission of translators is to build a bridge between and inside different cultures and ful

40、ly achieve functional equivalence between original culture and target culture. (Susan Bassnett, Andr Lefevere, 1998) The localization in subtitle translation reflects in the following three aspects: the usage of large number of internet words, the usage of popular catchwords and dialects and the imp

41、lication of larger number of Chinese cultural elements such as Chinese idioms, ancient poetry and historical illusions. The implication of network catchwords in subtitling is a new potential method in translation research field. The outstanding advantage of this new method is that it can not only br

42、ing humorous effects to audiences, but also deliver a superb audiovisual culture. (Yutao, 2009)3.2 Humorous effects of network catchwords Humor is an important element of western cultures and the success of a television or film work largely depends on the humorous translation of subtitles. So the hu

43、morous translation of subtitles is of great research significance. General humor can be translated and the similar humorous effects can be achieved between original text and target text. While target language may not produce the same humorous effects when it comes to the humor in language and cultur

44、e. (Hu Fanchou, 1987) The implication of network catchwords in subtitling brings significant humorous effects to the content of translation. The implication of network catchwords makes the television and film work more Chinese, cordial, close to Chinese society and humorous.4. Limitation in the impl

45、ication of network catchwords Network catchword is the general trend in specific internet users, but it has its own limitations and inevitably leads to a series of social problems. The limitations mainly reflect in the following three aspects. First, there exists a conflict between network catchword

46、s and the existing system of mandarin. Second, the audience of network catchwords belongs to specific groups. Third, there also exists a role conflict between the operators of network catchwords. SummaryAs for new burgeoning things as network catchwords, we advocate more guide rather than specificat

47、ion. We should more innovatively imply it in subtitle translation and make it a big motivator which put forward the development of language and subtitling.References1王晓娟，王欣浅议网络英语的发展及其翻译法J.考试周刊，20092姜红 试论当代中国的社会流行语J. 安徽农业大学学报，2005( 6) : 108- 112. 3刘伟民 网络流行语研究与话语理论J 河池学院学报，2010( 3) : 55 - 58.4孙永兰 试论网络

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